Filtering by: 2022

Nov
12
to Jan 22

Ann Veronica Janssens

1301PE is pleased to announce its fourth solo exhibition with renowned Belgian artist Ann Veronica Janssens. For more than thirty years Janssens’s work has been widely recognized for her ability to challenge, interrogate and disjoint perception.

“There’s no secret, I’m in the world’s mysteries.” –Ann Veronica Janssens

Janssens presents Leisure and Survival. The aluminum letters are carefully placed throughout the gallery to spell out Leisure and Survival, implying a contradiction between the

two and that one’s existence is not without the other. The juxtaposition of Leisure and Survival can be seen everywhere, from yachts gallivanting through the Mediterranean next to migrants swimming for their safety.

Janssens presents a selection of new glasswork—a material Janssens has vigorously investigated for its multitudinous optical and physical qualities. “Observing the world, and in the process of not quite recognizing it,” as Anders Kold writes “is a key aspect of Ann Veronica Janssen’s art – a premise of the artist’s practice and methodology, and a condition...for experiencing her work.” Frisson Rose, for example, reorders our experience of it, taking itself outside of its objecthood and foregrounding our experience. Frisson, the French word for thrill or excitement, can also refer to the bumps on our skin as we experience intense emotion. Here the glass, which literally mirrors us, disguises its materiality by mimicking ours.

Janssens is also exhibiting a new work of Glitters. It engages us spatially and plays with its many dichotomies. The space is then occupied by the work and the viewer, our knowledge of glitter’s near formlessness contrasts with our ability to move within the exhibition space and even the presumption of preservation is set against ephemerality with the work being swept up and repackaged after the exhibition closes resolving the contradictions it once contained.

Born in Folkestone, England in 1956, Janssens lives and works in Brussels. In 1999 Janssens represented Belgium at the 48th Venice Biennale. Janssens’s work has been the subject of major solo and group exhibitions around the world. Recent exhibitions include: Collection Lambert in Avignon, France (2022); The Pantheon in Paris, France (2021); South London Gallery in the United Kingdom (2020); Louisiana Museum of Modern Art in Humlebæk
, Denmark (2020). Janssens has significant forthcoming exhibitions at the Fondazione Pirelli Hangar in Milan, Italy (2023) and M WOODS Museum in Beijing, China (2023). A selection of solo exhibitions include: FRAC Corse, Bonifacio, France; Serendipity, WIELS - Contemporary Art Centre, Brussels, Belgium; Are you experienced?, Espai d’art contemporani de Castelló, Castelló, Spain; ARTSPACE, Auckland, New Zealand; Neue National Galerie, Berlin, Germany. Janssens’s work is held in major public and private collections worldwide.

For more information please contact Tate Smith or Quaja Butler at 323-938-5822.

View Event →
Sep
14
to Oct 21

Kerry Tribe

1301PE is pleased to announce its fourth solo exhibition with internationally acclaimed Los Angeles artist Kerry Tribe. Tribe is known for expansive and profound works in film and mixed media that explore consciousness, communication and memory. Her work embeds these themes in phenomenological cinematic experiences that collapse narrative and perception.

 

“Where is it, this present? It has melted in our grasp, fled ere we could touch it, gone in the instant of becoming.” –William James

 

Tribe’s latest exhibition finds the artist positioned as caregiver, looking after loved ones in the surrounding generations. Corner Piece, a video projected into the corner of the gallery, features animated text exchanges with Tribe’s mother on the right wall and Tribe’s growing children on the left. The artist’s “outgoing” messages,” always in blue, appear on one or the other side of the divide as they navigate requests for transportation, medical advice, technical assistance, weekly allowance and moral support.

 

A related series of works on paper, made with a homespun combination of watercolor and oil pastel, document recent text messages Tribe has received or sent. Elegant, funny and intimate, they capture the constant insect buzz of communication within a family, like room tone, traffic or weather.

 

Included in this exhibition are five large “scratch drawings” in rainbow-hued wax crayon and black pastel. These reproduce diagrams, made by western philosophers, that attempt to explain the present moment from a first person perspective. Experientially, “now” is never the indivisible, non-durational point one sees on a timeline, but a continuum of consciousness that enfolds the past and future within it. How else could we recognize duration, movement or change?

 

Tribe’s work has been the subject of solo presentations at SFMOMA, Camden Arts Centre, London and the Power Plant, Toronto, among others. She has received multiple awards, including the Herb Alpert Award, the USA Artists award, the Presidential Residency at Stanford University, and was a fellow at the American Academy in Berlin. Tribe’s work is in the public collections of MoMA, the Whitney, the Hammer Museum, and LACMA. Her films have been screened at the International Film Festival Rotterdam; the New York Film Festival, and the BFI London Film Festival, among others. Tribe lives in Los Angeles with her husband, two kids, three chickens, two cats, a goldfish, a tarantula, and a praying mantis.

 

For more information about Double Bumblefoot or Kerry Tribe, please contact Brian Butler, Tate Smith or Quaja Butler at info@1301pe.com

View Event →
Jun
3
to Jul 16

Uta Barth

Uta Barth: Figure/Ground, Figure/Ground

3 June – 16 July, 2022

1301PE and Tanya Bonakdar Gallery are pleased to present a joint exhibition of Uta Barth’s work, which will span the artist’s entire career. Titled Uta Barth: Figure/Ground, Figure/Ground, this exhibition is curated by writer Jan Tumlir, and will be divided between the two galleries in Los Angeles. At Tanya Bonakdar Gallery will be featured photographs in which a figure appears – typically the artist’s own, and often only in partial view – whereas at 1301PE, the selection of photographs will be devoid of figures, displaying all ground. Also featured in this two-part exhibition will be a range of contextualizing material, drawn from a cadre of artists who have proved influential on Barth’s practice: Michelangelo Antonioni, John Cage, Harry Callahan, Robert Irwin and Agnes Martin. A selection of books from Barth’s own library will be included as well. And, finally, David Horovitz (who once was Barth’s student) has conceived of a project to link the two galleries by way of an exchange of photographic postcards that will unfold throughout the duration of the exhibition.

Jan Tumlir writes, "As steadfast as this line of division between Figure and Ground might seem on paper, it quickly turns porous in actual practice. In Barth’s work, we are always looking for some sort of synthesis between these two poles that nevertheless holds them in tension. A figure appears against its ground when conceived as just a background, but if we add to it the qualities of surface and support, then this also is the place of the figure’s medial grounding, and thus fundamentally indistinguishable from it. And, reciprocally, it could be argued that even in those pictures where no figure encroaches upon the field of vision, the ground nevertheless remains suffused with it. Those hands and feet that, here and there, reach into the picture from the edges of the frame serve to remind us that a person is always there, even when wholly invisible. The photograph records the presence of the photographer on the scene; this witness who once stood before it, now lurks behind it – a haunting figure."

This exhibition has been conceived in anticipation of Uta Barth: Peripheral Vision opening November 15, 2022, at The Getty Center at the Getty Museum in Los Angeles.

For the past twenty years, Uta Barth (b. 1958) has made visual perception the primary subject of her photographic work. Barth first gained critical acclaim in the 1990s for her Ground and Field series, in which she turned her attention to the information contained in a photograph’s often forgotten and peripheral background. Emptying images from what would often be considered a traditional subject matter or narrative, Barth makes the viewer aware of the phenomenological experience of perceiving. The question of how we perceive – versus what we see – differentiates Barth from the dominant trajectory of photography that is tied up with pointing at things in the world and in which subject and content are mostly one and the same thing. Making the "the choice of no choice", Barth has confined her practice to the ambient, incidental, and ephemeral.

A 2012 MacArthur Fellow, Uta Barth was born in Berlin and currently lives and works in Los Angeles. Notable solo exhibitions have been presented at the Art Institute of Chicago; Henry Art Gallery, University of Washington, Seattle; the SCAD Museum of Art, Savannah; SITE, Santa Fe; Contemporary Arts Museum, Houston; Lannan Foundation, Santa Fe; Museum of Contemporary Art, Chicago; and Museum of Contemporary Art, Los Angeles. Her work is well represented in both private and public collections worldwide, including the Whitney Museum of American Art, New York; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York and Bilbao; the National Gallery of Art, Washington, D. C., Tate Modern, London; Carnegie Museum of Art, Pittsburgh; Dallas Museum of Art, Texas; UCLA Hammer Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago; Los Angeles County Museum of Art, Los Angeles; The Getty Museum, Los Angeles; and The Walker Art Center, Minneapolis.

For more information please contact Tate Smith or Brian Butler at info@1301pe.com.

View Event →
Ana Prvački
Apr
20
to May 21

Ana Prvački

"I commit to making my work as round as the earth and my performances as compressed as water. I aim for pedagogical meme pollination and maximum viewer titillation." - Ana Prvački 

 1301PE is pleased to announce its fourth solo exhibition with acclaimed artist Ana Prvački. Prvački’s cross-pollinating approach informs a practice that ranges from works on paper to video, performance and mixed reality. In this exhibition, Prvački debuts a new series of watercolors: tapping into a spontaneous and fluid form of sense-making through image and text. The technique of water-based painting dates to ancient times, and is interwoven into our visual lexicon as a ubiquitous representational tool through a myriad of cultures and art-historical spheres including fine art, illustration, and design. The precision of the hand combined with the fluidity and spontaneity of the medium lends itself well to Prvački’s formal and conceptual interest in the fluid transitions between analogue and digital, tradition and future. 

 Within the scope of her practice these watercolors often inform her videos and digital projects, honing her ongoing observations and curiosity with subjects such as bees and honey, botany, evolution, eroticism, Paleolithic art, and storytelling. The playful and often humorous paintings capture the viewer with their seeming naiveté, only to turn on their head and reveal latent urgent themes of the current moment–themes such as ecology, sexuality, and mental health, to name a few. 

 Ana Prvački was born in Yugoslavia and lives and works in Berlin. Her solo exhibitions and projects include the upcoming Gropius Bau, Berlin; Hammer Museum, Los Angeles; the Isabella Stewart Gardner Museum, Boston; Castello di Rivoli Museo d'Arte Contemporanea Turin; Artists Space, New York; and the Institute of Contemporary Arts, Singapore. Her work has been included in the following group exhibitions: 13th Gwangju Biennial, Korea, the 57th Oktobarski Salon, Belgrade, Serbia, 14th Istanbul Biennial SALTWATER: A Theory of Thought Forms, Istanbul, Turkey 2015, Contour Biennial in Mechelen Belgium 2015, dOCUMENTA 13 2012, Sydney Biennial 2007, Singapore Biennial 2006, the Turin Triennale 2005, and the Bangkok Arts Biennale in 2020. The Los Angeles Philharmonic and the Chicago Architecture Biennial have commissioned Prvački’s performances. In 2019 she was the de Young Museum artist in residence where she created a solo exhibition in collaboration with Google Arts and Culture that won the 2020 Webby Award for its use of augmented reality.

As the Gropius Bau’s inaugural Digital Artist in Residence in 2021-2022, Prvački is taking up a series of interventions that materialise the Gropius Bau’s overarching programmatic topics of hosting, natural structures, and ecology.

View Event →
Blake Rayne
Feb
5
to Apr 2

Blake Rayne

1301PE is pleased to announce Blake Rayne’s fourth exhibition with the gallery: a presentation of new paintings that evolve Rayne’s interest in reflexive material procedures in concert with modes of abstraction.

Quite simply, what is essential is neither the image nor the deep meaning, neither the representation nor its hall of mirrored reflections, but the system of relations. – Michel Serres, The Parasite

Over the last 20 years, Blake Rayne’s work has been central to questioning, expanding, and perforating contemporary beliefs regarding painting. This new body of work continues this engagement by alternatively revealing and obfuscating its stages of production. The surfaces of Rayne’s paintings are aggregates of various marks and materials. Gestural abstraction, color gradients, prepared and unprepared fabrics are sewn and spliced together in an assemblage of objects bearing contradictory relations to classification. In this way, Rayne’s Spit Tests and Reverse Strikes revel in their mark–making while critically examining the tense situation of painting.

Blake Rayne (b. 1969, Lewes, Delaware) lives and works in New York. He attended the California Institute of the Arts (CalArts), received a fellowship from the American Acadamy in Berlin (2010), and has taught at Columbia University’s School of Visual Arts. Cabin of the Accused, Rayne’s first survey exhibition, was presented at the Blaffer Art Museum in Houston, Texas. Solo exhibitions include Dog Ears, Miguel Abreu Gallery, New York, 2021;Yogurt Cinema, A Certain Lack of Coherence, Porto, 2019; Brother Ass, Central Fine, Miami, 2019; DOGSKULLDOGS, Miguel Abreu Gallery, New York, 2018, and Carbon Days, Nuno Centeno, Porto, 2018; among others. His work was included inCollected by Thea Westreich and Ethan Wagner at the Whitney Museum of American Art in 2016; Chat Jet: Painting <Beyond> the Medium Medium, Künstlerhaus, Graz, 2013, and group shows at Bergen Kunsthall, The Kitchen, SculptureCenter, Artists Space, Gladstone Gallery, Gagosian Gallery, Reena Spaulings, Greene Naftali, and American Fine Arts.

Rayne’s paintings are held in the collections of the Museum of Modern Art, the Whitney Museum of American Art, FRAC Poitou-Charentes, the Pinault Collection, Portland Museum of Art, and Institute of Contemporary Art, Miami.

View Event →